5. Direction Adjudication - Sheila Hetherington
As I'm sure is clear, the main issue I had with this production was the casting of an older actress that one would expect as Sorrel. Whilst one might argue that this was not to my personal taste, I think it is valid that Sorrel's age is fundamental to the impact of this play. It is a 'Damsel in Distress' play and that 'Distress' is only creditable as it is a 16-year-old who is put upon to sell herself. This was a major hindrance to the dramatic potential of the production and I was not alone in the audience in thinking that some potential was lost.

However, there was reasonable use of stage space employed by the director and some commendable elements to this production. The second half of the first act, when Leo was in the flat, was clearly the productions highlight and my congratulations to all involved for that.

I felt that characters looked upstage quite often and this was possibly a result of the set layout, with the sofa downstage right. This was a particular problem when they first entered (Sorrel, Kelly, Dan and Tracey all has weak first entrances). Also, when characters perched on the end of the sofa they either looked upstage or had their back to the left half of the auditorium.

I've touched on some updating issues and contradictions in use of accents. I think the location had been moved to the North from London (although Tracy was clearly a Londoner) and the time was brought up to now (which, among other things, clashed with Kelly's unfamiliarity with the Internet).

Leo was a superb characterisation; there was great comedy found and his performance raised the production. It was its best scene. I noted that Kelly was well positioned to offer him the bowl for best comic effect. Sorrel's various positions got great reactions too; these were excellently conceived. I'm not sure why, at the end of the scene, Sorrel was panting so much - this seemed unrealistic.

The cast was mostly visible and audible throughout, and this was testament to the able direction. Lynette was the only character ever to struggle vocally.
The time change in Act 2 Scene 1, into night, had a long pause which confused the audience - there was possibly a costume change, but maybe this could have been 'covered' somehow. The business with the body was well handled. I mentioned already that Dan was blocked for a time by Lynette. That said, the police were well used, with Grace being very popular.

Alan Ayckbourn's focus in this play is not the outcome (how much money the magazine gives them) but the effect on the events on the relationship between Lynette and Sorrel. Having watched this production, I felt this was not totally clear - the reporter is a devise to unify them, and this unification should have been much clearer.

This was a weir organised, sock production. It was a pity the thrust of Ayckbourn's intention got a little lost in the casting of Sorrel and the vagueness of the ending, but this director's ability was not lost on me.

6. Summary

This was a well-attended and enjoyed production. There was some close attention to detail and some very strong characterisations. The material was inarguably appropriate for the company and the audience reaction was favourable. The comedy of Leo's scene was a real treat.
Thank you to Moulton Drama Group for the hospitality and I wish you all the best for you're the future.

Regards
Jon Kerr
Cheshire Theatre Guild Adjudicator
theadjudicator07O8@yahoo.co.uk